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Randy Rhoads, guitarist
Photo: Jet Records, CC0, via Wikimedia Commons

Randy Rhoads's guitar strings: the Quiet Riot + Ozzy rig, sourced

Documented string gauges and tunings Randy Rhoads used with Quiet Riot and Ozzy Osbourne's solo band on his Jackson Concorde and Karl Sandoval polka-dot Flying V instruments. With citations.

Ozzy Osbourne / Quiet Riot · written with AI help · updated

Randy Rhoads played GHS Boomers in light gauges, commonly cited around .010 (some sources say .009 or .011; the specific set is documented variably). His primary instruments were the white Jackson Rhoads Concorde (a sharkfin-shaped V he designed with Grover Jackson, the design started in late 1980 and the white #1 delivered in early 1981) and the Karl Sandoval polka-dot Flying V from the early Ozzy era. Rhoads died in a small-plane crash in March 1982 at age 25; his three studio records (one with Quiet Riot, two with Ozzy) are foundational to the early-1980s neoclassical-metal lineage.

Sourcing5 citations · written with AI help, updated 2026-06-14

Who Randy Rhoads was

Randall William "Randy" Rhoads (December 6, 1956, Santa Monica, California, March 19, 1982, Leesburg, Florida, plane accident) was the founding lead guitarist of Quiet Riot (1973-1979) and Ozzy Osbourne's solo band (1979-1982). His two studio records with Ozzy, Blizzard of Ozz (1980) and Diary of a Madman (1981), are foundational to the early-1980s neoclassical-metal lineage and remain among the most-cited metal-lead-guitar records of the era.

The Jackson Rhoads Concorde V, designed in collaboration with Grover Jackson and continuously produced by Jackson Guitars as a signature line, is one of the most-recognizable metal-guitar shapes in popular music. Rhoads was studying classical guitar formally at the time of his death; the integration of classical study into hard-rock-and-metal lead vocabulary is the foundational stylistic contribution that puts him in the lineage that produced Yngwie Malmsteen, Marty Friedman, and Jason Becker.

What he played

GHS Boomers light-gauge strings, commonly cited around .010, on his two primary instruments: the Karl Sandoval polka-dot Flying V (1979, black with white polka dots, played live across the early Ozzy era) and the white Jackson Rhoads Concorde (designed with Grover Jackson in late 1980, the white #1 delivered early 1981, played the Diary of a Madman tour). A second Jackson Concorde (the black MKII) was delivered only months before his death. A Les Paul Custom is generally credited as his main Blizzard of Ozz studio guitar.

His signal chain into Marshall tube amps (vintage 100-watt Plexi-era heads) at high saturation drove the lead tone. He used an MXR Distortion + and an MXR 10-band EQ as his primary boost-and-shape pedals; the boost-into-Marshall combination is the canonical Rhoads-era lead-tone formula.

Standard E tuning on most material; selected songs in Eb standard.

GHS Boomers GBL Nickel-Plated Steel (.010–.046) strings
GHS

Boomers GBL Nickel-Plated Steel (.010–.046)

Price tier: $

Why this one: GHS Boomers is Rhoads's documented brand; the exact vintage gauge is cited variably across sources (.009 to .011), but .010-.046 is the most commonly cited and GHS's standard nickel-wound Boomers set today.

MetalHeavy metalHard rock

Why this fits the rig

The light set into Marshall tube saturation produces a vocal-quality lead tone with low picking effort, suiting the fluid arpeggio-and-scale-sequence vocabulary that characterizes the Blizzard of Ozz and Diary of a Madman leads. The asymmetric Jackson V shape sat more comfortably on his strapped or seated playing posture than a standard Gibson V, which is part of why he commissioned the Concorde design with Grover Jackson in the first place.

His classical study influences the lead vocabulary directly: the harmonic-minor and Phrygian-dominant scales, the arpeggio sequences on 'Mr. Crowley' and the 'Diary of a Madman' middle section, the formal three-section structure of the title track from Diary of a Madman. These are choices that come out of classical training, applied through a Marshall-saturated metal signal chain.

If you want this rig

A Jackson Rhoads V production model (in continuous production since the early 1980s) and a light-gauge nickel set in standard E or Eb tuning, into a Marshall-style tube amp with a clean boost in front, gets you in the territory.